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When the Dodos last visited D.C., we were so impressed that we had considerable difficulties keeping our excitement down to one paragraph. The group's youthful exuberance was just barely outmatched by their technical skills, and they excelled at making surprisingly full-bodied sounds using primarily drums and guitar. But their flourishes with additional instruments (trumpet, vibraphone, extra percussion) pushed were what pushed that set over the edge, providing an accurate mirror to last year's excellent Visiter.
This year's Dodos release, Time To Die, brought in a full-time third member, Keaton Snyder, on vibraphone and additional percussion. Despite the added depth, the album streamlines some of the barely contained maniacal tendencies that had made jaws hit the floor with their previous release. So the Dodos were perhaps wise to begin their show Friday night with a rollicking song from Visiter, "Paint the Rust," before launching into new material. Once they did, though, the Rock and Roll Hotel crowd was confronted with the fact that a live Dodos show has punch even when their recorded material does not.
The biggest problem with Time to Die is that Logan Kroeber's drumming, which had been one of the focal points of the previous two albums, seemed to be pushed farther into the background. Thankfully, this was not the case during Friday's show, and Kroeber's increased presence pushed songs like "Longform" over the line from good to great. Kroeber's composure is unflappable, which is all the more impressive considering the speed and precision with which he hits various parts of his drums. He also, for the most part, eschews his crash cymbal and uses tambourines taped to both feet as his hi hats.
The other two members of the Dodos certainly pulled their weight as well. At times, Snyder used one hand to hit two notes on the vibraphone while using the other to play the extra drums hidden behind the giant instrument. He made full use of the vibraphone, sometimes using four sticks to hit different notes or, in their extended jam of an already solo-heavy song, "The Season," he used a bow, producing an outright creepy sound. Meanwhile, singer/guitarist Meric Long, who had been entertaining to watch before because of his lightning quick finger-picking, chose to stand during the set and proved an even more engaging a figure when mobile. The one quibble with Long's normally rich vocals was that the reverb on them this time around stayed steady, clouding a sound that deserved more attention.
In perhaps the most surprising use of raver lights of the year, the band put LED rings on their fingers and turned out all the stage lights during "Small Deaths," an effect that only emphasized just how fast each musician's fingers could move.
Openers the Ruby Suns offered up a set that was enjoyable, but primarily drowsy. There were only three members on the stage, but the number of pre-recorded elements of their sound suggests they probably have more performers when in their home country of New Zealand. The pre-recorded keyboard parts and soothing vocals of McPhun created a dream-like effect, with added punch from their tribal beats. The set, which was heavy on tracks to be released in March of 2010, was pleasant, enjoyable and probably won over a few new fans.
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